We are at the end of our considerations, but one question remains to be answered. We have seen that the desire for artistic expression is universal. We may even say that the mass of the population in primitive society feels the need of beautifying their lives more keenly than civilized man, at least more than those whose lives are spent under the urgent necessity of acquiring the meagre means of sustenance. But among others also the desire for comfort has often superseded the desire for beauty. Among primitive people the καλὸν κἀγαθόν coincide. Goodness and beauty are the same. Do they then possess the same keenness of esthetic appreciation that is found at least in part of our population? I believe we may safely say that in the narrow field of art that is characteristic of each people the enjoyment of beauty is quite the same as among ourselves: intense among a few, slight among the mass. The readiness to abandon one’s self to the exaltation induced by art, is probably greater, because the conventional restraint of our times does not exist in the same forms in their lives. What distinguishes modern esthetic feeling from that of primitive people is the manifold character of its manifestations. We are not so much bound by a fixed style. The complexity of our social structure and our more varied interests allow us to see beauties that are closed to the senses of people living in a narrower culture. It is the quality of their experience, not a difference in mental make-up that determines the difference between modern and primitive art production and art appreciation. TEXT FIGURES Page Fig. 1. Front of painted box, Tlingit, Alaska (A. M. N. H. 19/1074) 18 ” 2. Jar from Zuni (A. M. N. H. 50.1/3333) 19 ” 3. Coiled basketry 20 ” 4. Twined basketry (From G. T. Emmons, Basketry of the Tlingit, Memoirs A. M. N. H., Vol. 3, fig. 294, p. 240) 20 ” 5. Chipped flint implements; _a_, American Indian, A. M. N. H. T 18542; _b_, Egypt, A. M. N. H. 75.0/820 21 ” 6. Part of surface of wooden sail, Kwakiutl Indians, Vancouver Island (A. M. N. H. 16.1/1744) 23 ” 7. Painted board, Tierra del Fuego (After Wilhelm Koppers, Unter Feuerland-Indianern, fig. 6, p. 48) 23 ” 8. Bushman designs; to the left, designs from ostrich eggs (After Felix von Luschan, Zeitschrift für Ethnologie, Vol. 55, pp. 32, 33, 37); to the right above (From Leonhard Schultze, Aus Namaland und Kalahari, p. 672); to the right below, bracelet made of horn (After E. von Sydow, Die Kunst der Naturvölker und der Vorzeit, p. 158) 23